This document outlines steps in an art project where students will create alien sculptures using found materials. They will explore how artists represent feelings of being alien or foreign in a new environment. Students will learn construction techniques to build armatures and cover their sculptures in colored tissue paper and personal patterns, taking inspiration from artists like Yinka Shonibare and Wangechi Mutu who incorporate cultural heritage and identity. The document provides learning objectives, outcomes, and guidance for each step of the project.
Year 7 SoW examining the work of Yinka Shonibare and the idea of what it is to be an alien. Students work towards creating an alien from found materials.
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Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
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• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
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1. You will use your imagination to create your own
alien sculpture and develop your skills in
construction by using found materials to build
with. You will develop a pattern based on your
cultural heritage to decorate your alien.
During this project you will explore the work of Yinka Shonibare and
discover how he represents how alien you can feel in a new
environment.
You will learn about the ideas, methods and
approaches used by other artists who have looked at similar
ideas in their work. You will also be introduced to artists who
attempt to express their cultural heritage in their work.
SoW: Aliens (Year 7)
2. Step1: ‘Consequences’
Learning objectives. By the end of the task you will:
•Understand the historical art context to the game ‘Consequences’’;
•Be able to combine found images and your imagination to realise your ideas;
•Work successfully within a team.
Learning outcomes. By the end of the task you will:
•Have played the game ‘Consequences’ and contributed to the creation of three
Alien designs
Surrealists believed that the parlour game,
‘Consequences’ was a pure creation of the mind. They
saw it as exploiting the ‘mystique of accident’.
The Chapman Brothers version of the Surrealist game feature
comic-horror imagery: skulls, eyeballs on stalks, grotesque
animal, writhing intestines, and claw-like hands and feet.
4. Step 2: Alien Design
Learning objectives. By the end of the task you will:
•Be able to identify the ideas that have the most potential;
•Understand construction techniques to a point.
Learning outcomes. By the end of the task you will:
•Adapt the consequence outcomes into a design that is far more personal to you;
•Envisage how it will look from different angles by drawing your alien from different
viewpoints.
6. Step 3: Create a Maquette
Learning objectives. By the end of the task you will:
•Understand different ways to manipulate paper to create different shapes that have
a range of strengths.
Learning outcomes. By the end of the task you will:
•Have created a maquette (rough model) of your alien;
•Attempted a technique by Jacquet Fritz Junior (if appropriate);
•Photographed you maquette and planned further developments in your sk/bk.
Success Criteria…. What qualities would a successful maquette have?
Make suggestions how your neighbour might have to adapt the design for the final alien on a
post it note. Are there any particular materials or techniques they should use?
8. Step 4: Yinka Shonibare
Learning objectives. By the end of the task you will:
•Understand the difference between context and a concept and define these two
areas in relation to Shonibare’s work;
•Be able to explain the cultural heritage and significance of the patterned fabrics
Shonibare uses.
•Understand the issues behind the work of Yinka Shonibare’s piece, ‘Dysfunctional
Family’.
Learning outcomes. By the end of the task you will have:
•Worked collaboratively to complete the research sheet about Shonibare.
9.
10. ‘Dysfunctional Family’ by Yinka Shonibare
In pairs, answer the following questions:
Explain what you see in the picture?
Can you recognise the different
members of the family? If so, how do
you know?
How would you describe the
patterns?
Do you associate the patterns on the
fabric with a particular place?
What do you think the artist is trying
to say in this art work? Explain your
reasons.
This art work is part of a series of art
works called ‘Alien Nation’. How
would you define an ‘Alien’?
Does the title help you understand the
artwork?
17. ‘Dysfunctional Family’ by Yinka Shonibare
In pairs, answer the following questions:
Explain what you see in the picture?
Can you recognise the different
members of the family? If so, how do
you know?
How would you describe the
patterns?
Do you associate the patterns on the
fabric with a particular place?
What do you think the artist is trying
to say in this art work? Explain your
reasons.
This art work is part of a series of art
works called ‘Alien Nation’. How
would you define an ‘Alien’?
Does the title help you understand the
artwork?
Now that you have heard a little more about the artist- add more information to your sheet
in a different colour.
18. Homework:
1. Write the title- ‘ Dysfunctional Family’ 1999 by Yinka Shonibare -in your
sketchbook.
2. Draw one or more of the figures in colour.
3. Write up your comments from the questions completed in class. Try to use
the specific vocab below.
Level 4:
Write out each question and
answer each one in full
sentences. Try to include the
words below:
Pattern
Colourful
Batik
Sculpture
Foreign
Alien
Level 5:
Use the answers from the
class task to help you write a
short paragraph about this
work. Use the level 4 words
and those below:
Issue based work
Installation
Race
Class
Identity
Alienation
Level 6
Collect more information about other
themes Shonibare addresses in his
work. Write a short paragraph
covering the answers from the
lesson and introducing the
information you have discovered.
Use the level 4, 5 and 6 vocab
within your writing.
Colonialism
Globalisation
Status
Multiculturalism
Stereotype
Controversial
Think carefully about the overall presentation. You may wish to create a border featuring some of the
patterns Shonibare uses or include images of his other work.
19. Step 5: Making the Alien- armature
Learning objectives. By the end of the task you will:
•Identify the most appropriate materials to make a sound base for your sculpture;
•Choose the best method of construction to achieve your ideas.
Learning outcomes. By the end of the task you will have:
•Created the armature for your alien.
20.
21. Step 6: Making the Alien- construction
Learning objectives. By the end of the task you will:
•Identify the most appropriate materials to use for different parts of your sculpture;
•Choose the best method of construction to achieve your ideas;
•Plan further developments.
Learning outcomes. By the end of the task you will have:
•Achieved the target set for you at the start of the lesson..
Level 4:
•I develop my practical skills
and choose the most appropriate
materials and techniques to
make my alien.
•My sculpture is sturdy and has
no loose bits hanging off.
Level 5:
•I have developed my practical
skills and construction
techniques and can choose the
most appropriate tools and
materials to make my alien.
Level 6
•I experiment with and explore the
potentials of materials to plan future
developments in my work.
•I collect useful images and
materials (without being asked by
my teacher) to develop my alien.
•I apply my practical skills and
technical knowledge to achieve my
alien design in 3D.
Set targets for your neighbour at the beginning of every construction lesson. Discuss what
should be completed and write all targets down on a post it note for the plenary at the end.
22. Construction techniques:
Cut and slot card.
Score card to help it bend and create geometric shapes.
Alternatively score all along the width of a length of card to help you create a
curved piece.
Wire- especially good for snake
like shapes.
Makes great hands / claws.
Stuffed tights or socks!
Tights stretched over a wire shape is
also good for creating skeletal shapes.
Paper is the most versatile! You
can:
•Scrunch it and secure it with tape;
•Roll it into strong lengths;
•Layer it, wrap it, crease it and pleat
it;
•You can roll many balls of paper
and tape them together to create a
muscular effect……
23. Safe use of the Stanley knives.
• Always be sure that blades are properly seated in knives and that knives are properly closed and/or
fastened together before use.
• Never leave a knife unattended with the blade exposed.
• Always use sharp blades. A dull blade requires more force and is more likely to slip than a sharp one.
Change the blade whenever it starts to tear instead of cut.
• Protect your eyes - wear safety goggles when working with knives if possible. Never hold a knife to
someone even as a joke.
• Always keep your free hand away from the line of cut.
• Always pull the knife toward you when making a cut on a flat surface. A pulling motion is stronger and
more positive than pushing the knife away from you, and the knife is less likely to slip.
• Use a ridged, metal ruler when cutting a straight edge. The straight edge needs to be thick enough to
prevent the knife from "riding up" over the edge and cutting you.
• When using a knife to cut through thick materials, be patient - make several passes, cutting a little deeper
into the material with each pass.
• USE A CUTTING MAT!
24.
25. Dilomprizulike
• Born in 1960 in Enugu, Nigeria, as Dil Humphrey-Umezulike, Dilomprizulike is
now known as the self-styled 'Junkman From Africa‘.
• He takes materials from the piles of used surplus clothes found on the streets of
African cities, he makes installations and performances that look at what he
describes as 'the alienated situation of the African in his own society.'
• Dilom's descriptions of the life of the 'city-Nigerian' discusses of black alienation
that arises during colonialism and the legacy of the colonial encounter, as well as
the more contemporary phenomenon of globalisation.
26. Step 7: Papier Mache & Coloured Background
Learning objectives. By the end of the task you will:
•Understand the difference between colours that have a harmonious relationship and
those that contrast with each other;
•Have a greater understanding of the techniques used by Wangechi Mutu.
Learning outcomes. By the end of the task you will have:
•Covered your alien with 1 to 3 different coloured tissue paper. Some of you may
have also applied inks and (in a few occasions) bleach to alter the appearance of the
tissue paper.
Analogous or Harmonius colour relationships.
Complementary
(contrasting colours
sit opposite each
other on the colour
wheel).
27. Which of these pairs of colours are harmonius and which pairs are complementary
pairs (sit opposite each other on the colour wheel)?
29. • Born in Nairobi, Kenya, educated in Britain and resident in New York since the mid-
nineties.
• Her paintings and collages often feature twisting female forms, their skin an eruption of
mutant appendices like gun shafts or machine gears sprouting from the sockets of joints,
their bodies half human, half hyena.
• Mutu commonly works on paper, manipulating ink and acrylic paint into pools of colour.
• Wangechi Mutu's work boldly explores the contradictions of female and cultural identity,
drawing the viewer into conversations about beauty, consumerism, colonialism, race,
and gender.
Wengechi Mutu
Wangechi Mutu (teachers, watch first!)
30. Level 4:
•I have developed my practical
skills and chosen the most
appropriate materials and
techniques to make my alien.
•My sculpture is sturdy and has
no loose bits hanging off.
Level 5:
•I have developed my practical
skills and construction
techniques and can choose the
most appropriate tools and
materials to make my alien.
Level 6
•I experiment with and explore the
potentials of materials to plan future
developments in my work.
•I collect useful images and
materials (without being asked by
my teacher) to develop my alien.
•I apply my practical skills and
technical knowledge to achieve my
alien design in 3D.
Construction
Level 4:
•My sculpture is covered with
one layer of coloured tissue
paper- there are no loose
pieces.
•I use the examples of patterns
to help me design shapes to
cover my alien.
Level 5:
•My sculpture is covered with
two different colours, I have
also created darker areas with
ink.
•I have experimented with
combinations.of shapes,
collage and drawing to design
my alien’s pattern.
Level 6
•I have used a combination of
coloured tissue paper and inks to
create an interesting surface on my
alien similar to Wengechi Mutu.
•I have combined my own patterns
with those by Shonibare to cover my
alien.The tissue shapes compliment
the drawn patterns.
Pattern
31. Step 8: Patterns
Learning objectives. By the end of the task you will:
•Have developed a sensitivity to pattern showing an ability to combine your own
imagery and patterns that already exist.
Learning outcomes. By the end of the task you will have:
•Cut smaller, tissue paper shapes to layer over the coloured background from the last
task;
•Drawn your personal pattern over both layers.
33. Abdoulaye Konate
• Abdoulaye Konaté (b. 1953) lives and works
in Bamako, Mali.
• He addresses social, political and economic
problems such as AIDS or the crises
between Israel and Palestine.
• He uses a combination of textiles, gris-gris,
bullets, used clothing or sand.
• His work reflects a Malian, African and
universal collective consciousness.
Editor's Notes
Use the ‘First ceramics lesson’ in the Autumn 2011 folder in the project folder in Art Resources (MLE). The aim is to allow students to interact with the clay and make a thumb pot. If these can be kept moist students can impress the objects they bring in later on to see how effecive they are. Understanding can be assessed using the clay jeopardy game. (same folder as the one mentionned above.)
Introduction to the artist: Born in England in 1962 and raised in Nigeria, Yinka Shonibare currently lives and works in London, where he has gained international attention by exploring issues of race and class through a range of media that includes sculpture, painting, photography, and installation art. Adopting a richly complex, unconventional approach, Shonibare lampoons the concept of achieving status through what might be called cultural authenticity. His works, simultaneously innocent and subversive, address a range of cultural and historical issues and, in the process, blur the boundaries of design, ethnography, and contemporary art. Commissioned by the Mayor of London and supported by Arts Council England with sponsorship from Guaranty Trust Bank of Nigeria, Nelson's Ship in a Bottle is a scale replica of HMS Victory in a giant bottle. The artwork will be the first commission on the Fourth Plinth to reflect specifically on the historical symbolism of Trafalgar Square, which commemorates the Battle of Trafalgar, and will link directly with Nelson's column. It is also the first commission by a black British artist. The ship's 37 large sails will be made of richly patterned textiles commonly associated with African dress and symbolic of African identity and independence. The history of the fabric reveals that they were inspired by Indonesian batik design, mass produced by the Dutch and sold to the colonies in West Africa. Tying together historical and global threads, the work considers the legacy of British colonialism and its expansion in trade and Empire, made possible through the freedom of the seas that Nelson's Victory provided. Yinka Shonibare says his piece will reflect the story of multiculturalism in London: " For me its a celebration of London's immense ethnic wealth, giving expression to and honouring the many cultures and ethnicities that are still breathing precious wind into the sails of the United Kingdom. A ship in a bottle is an object of wonder. Adults and children are intrigued by its mystery. How can such towering masts and billowing sails fit inside such a commonplace object? With Nelson's Ship in a Bottle I want to take this childhood sense of wonder and amplify it to match the monumental scale of Trafalgar Square."
Like most of Shonibare’s works, Dysfunctional Family is a playful exploration of status, alienation, and multiculturalism. This is accentuated by the artist’s use of batik, a colorful, patterned material often used as a symbol for exoticism or “Africanness.” The fabric, however, is not indigenous to Africa, but is actually colonial in origin. First made in Indonesia, it was imported to Holland and reproduced by English designers. Dysfunctional Family consists of four stuffed mannequins of a stereotypical “space-alien” family that, at about four feet high, look like oversized cartoon toys. The artist here uses the patterned fabric as a metaphor for the phenomenon of cultural confusion, unveiling the notion of identity as a construct. At the same time, he uses the creatures to play on the notion of the foreign–or “alien”–in today’s social fabric